The Artistry of Shakespeare's ProseRoutledge, 2013-09-13 - 464 psl. First published in 1968. This re-issues the revised edition of 1979. The Artistry of Shakespeare's Prose is the first detailed study of the use of prose in the plays. It begins by defining the different dramatic and emotional functions which Shakespeare gave to prose and verse, and proceeds to analyse the recurrent stylistic devices used in his prose. The general and particular application of prose is then studied through all the plays, in roughly chronological order. |
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... seems reasonable to say that if we approach the words with a keen imaginative sympathy we should best be able to ... seem that by now the study of Shakespeare's language would be exhausted. But in fact there has been less detailed and ...
... seems reasonable to say that if we approach the words with a keen imaginative sympathy we should best be able to ... seem that by now the study of Shakespeare's language would be exhausted. But in fact there has been less detailed and ...
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... seems a small readjustment much is involved in it. Our starting-point must be the simple principle, stated with clarity by A. S. Downer, that The drama is a unique form of expression in that it employs living actors to tell its story ...
... seems a small readjustment much is involved in it. Our starting-point must be the simple principle, stated with clarity by A. S. Downer, that The drama is a unique form of expression in that it employs living actors to tell its story ...
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... seem to be commonly appreciated that the historical significance of this extreme contrast is the same as that of the more general alternation between verse and prose, namely that the Elizabethan audience must have been aware of the ...
... seem to be commonly appreciated that the historical significance of this extreme contrast is the same as that of the more general alternation between verse and prose, namely that the Elizabethan audience must have been aware of the ...
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... seems to be all that is left of the surrounding framework of The Taming of a Shrew. In the first scene the dispute between Christopher Sly and the Hostess is expressed in appropriately vigorous prose: Y'are a baggage, the Slys are no ...
... seems to be all that is left of the surrounding framework of The Taming of a Shrew. In the first scene the dispute between Christopher Sly and the Hostess is expressed in appropriately vigorous prose: Y'are a baggage, the Slys are no ...
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... seems to be no alternative, and if it is properly performed in relation to our experience of the whole work it can ... seem to be the most important by their recurrence, and I will discuss them in turn, again with reference to the plays ...
... seems to be no alternative, and if it is properly performed in relation to our experience of the whole work it can ... seem to be the most important by their recurrence, and I will discuss them in turn, again with reference to the plays ...
Turinys
From Clown to Character | |
The World of Falstaff | |
Gay Comedy | |
Two Tragic Heroes | |
Serious Comedy | |
Clowns Villians Madmen | |
The Return of Comedy | |
Conclusion | |
Notes | |
Index | |
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abuse action answer appears applied argument attitude becomes begins better character clown comedy comes comic complete continues contrast Coriolanus course created critics death deflating described detail device direct effect Elizabethan equivocation expressed eyes Falstaff feeling figure final follows fool force further give given goes Hamlet hand hath human humour Iago imagery images important ironic King language later lines logic look lord master meaning mock nature never normal once Pandarus parallel Parolles pattern perhaps person piece play plot present produces prose reason repartee repetition rhetorical scene seems seen sense serious Shakespeare shown significant situation soliloquy speak speech stage structure style stylistic suggest symmetries tell thee thing thou Troilus true turn verse whole witty